My graphic design skills are superior to a lot of other things I can do; I use it as a part of my tool kit.

The most important message is to let me just focus on making the most beautiful normcore clothes, but as luxurious as possible.

There's no line between a designer and consumer.

Criticism doesn't worry me.

Graphic tees are vibes. And I think they're the basis of a lot of wardrobes, but that makes it challenging to distill what you're brand means within a T-shirt.

I do fashion to tell a narrative.

I look at culture, and I see what the kids around me are wearing, and I see a particular style. I understand the space between fashion and streetwear.

I don't play golf.

You can look at Lil Uzi and know he has a strong opinion about his aesthetic.

I was never meant to, like, work and then turn it off and sit on the couch. I just have a vision, and I'm inspired by it. It's sort of what makes me tick.

I try to talk on the phone as little as possible.

The blue-collar culture, it's not really a buttoned-up aesthetic. It's a heavy-labor thing because you're, like, sweating.

Every idea that comes to mind I execute, or I look for outlets to put out ideas.

All the skateboarding brands that I was into had graphic T-shirts. In the '90s, there were different styles that went along with the different influences in skateboarding, whether that be hip-hop or rock and roll and grunge. And that's what I was into, so I was following all that.

I can come up with 30 T-shirt designs in a day, but it's just about where to slot each of them. That's streetwear to me. It's about knowing where to buy things, not this mass thing you can get anywhere.

In my case, everything starts from Marcel Duchamp and the new expressive possibilities he gave us with his ready-mades. I transferred his artistic language into today's world, choosing, for example, to use pedestrian-crossing stripes as a symbol.

Music needs a visual element to make it tangible. So, naturally, there's gonna be a synergy between high-level art direction and high-level albums.

Big teams are absolutely vital if you want to achieve certain results when you're working on larger scales, both in terms of physical size and productive quantities.

I don't do the vintage thing so much, just because it's not me. There are some vintage designers I'll buy things from, but mostly not.

I have this overriding principle that streetwear could end up like disco: that it will be perceived well at the time but doesn't age well at all.

I suck at sleeping.

I've been DJing since I was in high school.

My goal was to tell a dialogue between high fashion and streetwear. So, the name Off-White, in my mind, is between black and white. So, that middle ground is a mixture between both genres of fashion.

My style is to never say no.

I'm always trying to prove to my 17-year-old self that I can do creative things I thought weren't possible.

I always live in multiple places. I'm never in the same city for seven days.

Take Tom Sachs as an artist. His brain is more brilliant than anything, so of course, anything he puts out over a ten-year period is going to continue to be super relevant. But if you look at some artists, they have one good idea, but unless you know where it's coming from, it's not going to be lasting.

DJing is my only peace of mind. When the phone is off, I play my favourite songs really loud for myself, and I'm not talking to anyone; I'm not managing anything. It's just, like, a time when I can listen to music.

I started off as a kid who didn't care what my education was.

People that are able to think in terms of concepts and offer us valuable forms of art are very exciting to me.

Kanye looks for the best in everything.